[凯特·基恩] - 美国大都会艺术博物馆展品查阅

品名（中）	[凯特·基恩]
品名（英）	[Kate Keown]
入馆年号	2005年，2005.100.265
策展部门	摄影（Photographs）
创作者	Julia Margaret Cameron【1815 至 1879】【英国人，出生于印度】
创作年份	公元 1866
创作地区
分类	照片（Photographs）
尺寸	图像: 29 x 29 厘米 (11 7/16 x 11 7/16 英寸) circle
介绍（中）	1866年春夏，卡梅隆购买了一台能够制作十二乘十五英寸底片的新型更大相机后，制作了一系列十二个"真人大小的头像"，其中包括波提切利风格的对温柔悲伤的天使研究。在她的作品中，诗意的真实比摄影的真实性更重要。她通过精心的照明、模特在长时间曝光时的轻微移动、浅景深和柔和的对焦，传达了一种生命感、呼吸感和诚实的情感。"我在失焦照片中的第一次成功是侥幸，"卡梅隆写道。"也就是说，当聚焦并找到在我看来非常美丽的东西时，我停在那里，而不是像所有其他摄影师所坚持的那样将镜头拧到更明确的焦点上。在这样做的过程中，她给人一种肉体和精神的感觉，用雷兰德的话来说，没有"夸张的皮肤树皮概念"。
介绍（英）	In spring and summer 1866, having purchased a new, larger camera capable of making twelve-by-fifteen-inch negatives, Cameron produced a series of twelve “life-sized heads,” including this angelic study of tender sorrow somewhat in the style of Botticelli. Throughout her work, poetic truth was valued above photographic truthfulness. She conveyed a sense of life and breath and of honest emotion through careful lighting, her models’ slight movement during long exposures, a shallow depth of field, and softness of focus. “My first successes in my out-of-focus pictures were a fluke,” Cameron wrote. “That is to say, that when focusing and coming to something which, to my eye, was very beautiful, I stopped there instead of screwing on the lens to the more definite focus which all other photographers insist on.” In so doing, she gave the feeling of both flesh and spirit without, in Rejlander’s words, “an exaggerated idea of the bark of the skin.”